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e-flux

From EverybodyWiki Bios & Wiki



e-flux is a publishing platform and archive, artist project, curatorial platform, and e-mail service founded in 1998.[1] The arts news digests, events, exhibitions, schools, journal, books, and art projects produced and/or disseminated by e-flux describe strains of critical discourse surrounding contemporary art, culture, and theory internationally.[2] Its monthly publication, e-flux journal, has produced essays commissioned since 2008 about cultural, political, and structural paradigms that inform contemporary artistic production.

Timeline of activity

In November 1998, curators Regine Basha and Christoph Gerozisses, along with artist Anton Vidokle organized the group exhibition The Best Surprise is No Surprise at the Holiday Inn in Chinatown, Manhattan. Basha, Gerozisses, and Vidokle used e-mail, then a new communication technology, to disseminate the press release for the 12-hour, all-night exhibition. The exhibition featured works by Tomoko Takahashi, Michel Auder, Carsten Nicolai, and Peter Scott. The e-mailed press release attracted the attendance of hundreds of guests to the show. Acknowledging the potential of e-mail as a tool for the dissemination of information among arts communities, Vidokle launched e-flux one month later.[3] In its first year, e-flux was invited to present special projects at the ARCO art fair in Madrid and at Art Basel. As e-flux's readership grew to more than 20,000 international artists, curators, and critics from 1998 through 2003, e-flux was based in a one-room apartment at 344A Greenwich Street, New York City, where work on e-flux was combined with experimental exhibitions such as Infra-Slim.[4]

Announcements (1998)

e-flux's primary revenue-generating business is its announcement service, which is free for readers to access. e-flux charges a fee to museums and other institutions of art to send their press releases and other communiqués to readers subscribed to e-flux's mailing list.[5] All information disseminated is permanently archived for reference and research on e-flux's website. e-flux announcements are limited to public art centers and museums, but e-flux's subsidiary art-agenda provides similar services to commercial galleries, while art schools and art academies can pay to send announcements via art&education, a mailing list and website that e-flux jointly administers with Artforum International. For information pertaining to exhibitions of architecture and announcements on behalf of architecture schools, e-flux maintains another mailing list, e-flux architecture.

53 Ludlow Street (2004-2008)

In 2003, the artist Julieta Aranda began collaborating with Vidokle on e-flux. According to Aranda:

In a conversation with Lawrence Weiner, we started talking about immateriality, and he raised a very important question for me, which was the degree of dependence of our projects on electricity and the internet. After this conversation, I really became interested in bringing a more tangible dimension to our activities.[6]

In 2004, Aranda and Vidokle opened e-flux's first public space for experimental programs in a storefront on Ludlow Street in New York City's Lower East Side.

41 Essex Street (2008-2011)

In 2008, e-flux moved to a storefront at 41 Essex Street in New York, where they hosted New York Conversations.[7] Also in 2008, Brian Kuan Wood joined Aranda and Vidokle as an editor of e-flux journal.

311 East Broadway (2011-present)

In 2011, e-flux relocated its activities to 311 East Broadway in New York's Lower East Side. The three floors encompass an exhibition space, offices, and an event space. In addition to the daily operations of e-flux and e-flux journal, the location accommodates a year-round exhibition and programming schedule that is accessible to the public free of charge.[8]

Projects

During its first several years e-flux primarily focused on exhibitions and events online. In January 2001, e-flux developed an online version of the Rob Pruitt book 100 Art Ideas You Can Do Yourself, providing viewers with instructions to make an art work and inaugurating e-flux.com as an online exhibition space.[9] Parallel to the online publication, e-flux produced a special intervention into Parkett magazine: a love letter written by Pruitt to his boyfriend Jonathan Horowitz, several thousand of which were printed as handwritten facsimile and disseminated as an insert.[10]

Later that year, e-flux partnered with kurimanzutto, a gallery based in Mexico City, and the Mexican artist Minerva Cuevas to present 100% FREE, an on offshoot of Cuevas' project Mejor Vida Corp, which Cuevas started in 1999 in Mexico City.[11] Mejor Vida Corp distributed free MVC Student ID Cards that resulted in millions of dollars of savings in reduced museum admissions, travel discounts, and other rebates. Annette Leddy described the work as "an anti-corporation that parodies and plays Robin Hood to greedy practices," and Daniel Hernandez of the LA Times wrote that "Mejor Vida Corp. went on to become an icon of contemporary Mexican art in the 1990s."[12][13]

DO IT began in 1993 with a discussion among Christian Boltanski, Bertrand Lavier, and Hans Ulrich Obrist and, according to Obrist, became "an exhibition of do-it-yourself descriptions or procedural instructions" traveling to over 40 cities over nine years. In 2002, e-flux launched DO IT as an online exhibition of several hundred artworks in the form of instructions that any person could realize at home.[14]

Originally a 2003 Venice Biennale project curated by Molly Nesbit, Rirkrit Tiravanija, and Hans Ulrich Obrist, the Utopia Station poster project is a printable, online archive of posters by more than 100 artists, hosted on e-flux's website.[15]

In 2003, e-flux launched The Next Documenta Should Be Curated By An Artist, a project curated by Jens Hoffmann, which featured reflections of a group of artists upon the conditions of the relationship between artists and curators. The project was continued in the form of a publication released by e-flux and Revolver in July 2004.

EVR (e-flux video rental) (2004–present) is a video archive, a projection space, and a free video rental.[16][17] The project was conceived in 2004 and was subsequently presented at various locations around the world, with the inventory of videos continuously increasing with selections made by local curators, artists, and critics.[18][19][20] Currently, the project archive comprises over 950 videos. In 2010, the artists donated e-flux video rental to the permanent collection of the Museum of Modern Art (Ljubljana) where it is on permanent display.[21] In 2019, e-flux announced that it would begin working through the archive in the form of screenings at Bar Laika in Clinton Hill, Brooklyn.[22]

unitednationsplaza was a temporary, experimental school in Berlin, initiated by Anton Vidokle following the cancellation of Manifesta 6 in Cyprus, in 2006.[23][24][25] Developed in collaboration with Boris Groys, Liam Gillick, Natascha Sadr Haghighian, Nikolaus Hirsch, Martha Rosler, Walid Raad, Jalal Toufic, and Tirdad Zolghadr, the project traveled to Mexico City in 2008 and, in 2008-2009, to New York City under the name Night School at the New Museum.[26] Its program was organized around a number of public seminars, most of which are now available in their entirety in the unitednationsplaza online archive.[27]

After unitednationsplaza left Berlin, Julieta Aranda, Magdalena Magiera, and Anton Vidokle re-opened the building that housed it as The Building (2008–2009), which hosted e-flux video rental, a reading room comprising several thousand publications on contemporary art and theory, WUNP—a web-based radio station operated by Neurotransmitter (Angel Nevarez and Valerie Tevere) and a series of monthly lectures by the Berlin-based critic Jan Verwoert titled Why are conceptual artists painting again? Because they think it’s a good idea.[28] In 2008, Vidokle initiated a second iteration of the project as unitednationsplaza Mexico DF, presented by PAC (Patronato de Arte Contemporanéo A.C.).[29] The video archive, realized by Jan Gerber and Susanne Lang and designed by Min Choi and Jeff Ramsey, is organized in four chapters: unitednationsplaza, unitednationsplaza Mexico DF, nightschool and the building.

In 2007 Julieta Aranda initiated Film Festival, by Ricardo Valentim, in collaboration with the unitednationsplaza program in Berlin. This two-month-long screening series (January 19 through March 9, 2007) included a selection of educational films commissioned by the United Nations and the US Department of Education in addition to other agencies in the 1950s through the 1980s.[30] The reels, purchased by Valentim on eBay, included "documentaries about indigenous African peoples, historical figures, and natural phenomena that exemplify Western visions of the world from the postwar period until the `80s, demonstrating how the ideological apparatus of the state builds a biased image of reality."[31][32]

In 2007, after having seen Donald Judd's library in Marfa, Texas, Vidokle asked Martha Rosler if he could borrow and install her personal library at e-flux as a public reading room.[33][34] Comprising more than 7,000 volumes selected from the books at Martha Rosler's residence and studio in Brooklyn and academic office in New Jersey, the Martha Rosler Library was accessible for public use at e-flux's Ludlow Street location in New York City and then traveled to art organizations throughout Europe, including the Institut national d’histoire de l’art, Paris; Frankfurter Kunstverein; MuHKA (Museum of Contemporary Art), Antwerp; unitednationsplaza, Berlin; Stills in Edinburgh; John Moore's Art School in Liverpool; and the Gallery at the University of Massachusetts, Amherst.[35][36] In a 2006 article, New York Times critic Roberta Smith described the project:

Crammed into creaky shelves are about 6,000 books owned by the artist eminence Martha Rosler - on art, architecture, science fiction, poetry, history and beyond - that form a kind of portrait of the artist's mind. Anyone can come in, browse, read and even photocopy a few pages - free....Mr. Vidokle calls the library "a useful resource that doesn't have any commercial motivation" and cites as inspiration the former artist-run SoHo restaurant FOOD, an offshoot of 112 Greene Street, where diners paid what they could.[16]

The volumes are now catalogued on the library's page of e-flux's website.[37]

Originally established by artists Julieta Aranda and Anton Vidokle in New York in 2008, Pawnshop went bankrupt at the beginning of the world financial crises, only to re-open successfully in Beijing, Art Basel, and at the third Thessaloniki Biennial in 2011.[38][39][40][41] Both an exhibition and an artwork in itself, Pawnshop mediates the complex choreography of art and money. As a functional pawnshop, it has an inventory of over 100 art works, some made specifically for this occasion.[42] Contributing artists include: Armando Andrade Tudela, Michel Auder, Michael Baers, Luis Berríos-Negrón, Marc Bijl, Andrea Büttner, Annika Eriksson, Peter Friedl, Joseph Grigely, K8 Hardy, Christoph Keller, Annika Larsson, Ken Lum, Gustav Metzger, Darius Miksys, Gean Moreno, Bernardo Ortiz, Olivia Plender, Julia Scher, Tino Sehgal, Nedko Solakov, Eric Stephany, Jalal Toufic, Bik Van der Pol, and Marion Von Osten, among others.

New York Conversations (2008) was a three-day public editing session of an issue of A Prior journal guest-edited by Nico Dockx, Rirkrit Tiravanija, and Anton Vidokle.[43] For this event, the e-flux storefront was transformed into a temporary free restaurant serving lunch and dinner followed by discussions that would comprise an experimental issue of A Prior. Participants included: Liam Gillick, Martha Rosler, Louwrien Wijers, Lawrence Weiner, Jan Verwoert, Miwon Kwon, Marti Peran, Sis Matthé, Egon Hanfstingl and A Prior’s editors: Anders Kreuger, Dieter Roelstraete, Monika Szewczyk, Andrea Wiarda, and Els Roelandt. New York Conversations was followed by the production of A Prior Magazine no. 18 and its presentation at Beursschouwburg Brussels in October of 2008, as well as a film by Anton Vidokle by the same name.

Initiated in 2010 and conceived as a project in 2008, Time/Bank is a network with branches in eleven cities, where time currency (designed by Lawrence Weiner) can be obtained in exchange for other currencies: biological time, ideas, services, and commodities. As Jessica Loudis explained, "By sticking 60 indisputably valuable artworks in a pawnshop, e-flux forced a clash between contradictory models of value, momentarily transforming a holding cell for unwanted or useless but valuable goods into a kind of gallery space. With the distance between goods and capital ever increasing—or at least, goods and our ability to value them—Time/Bank picks up where Pawnshop leaves off, creating a nearly closed system that’s pegged entirely to use value.”[44] In this way Time/Bank proposes an alternative economy in which individuals and groups in the cultural fields can trade time, skills, and commodities to get things done while circumventing money. Once such iteration has been Time/Food, which took place at Abrons Arts Center in New York in 2011.[45][46] Time/Bank has appeared as an exhibition and outpost at dOCUMENTA (13), Portikus, and elsewhere.[47]

In 2011 e-flux presented a constellation of projects at the Kopfbau (head building), the oldest building in the Messeplatz complex where Art Basel takes place. Projects housed in Kopfbau included: Basel Pawnshop, A Guiding Light, Agency of Unrealized Projects (AUP), Time/Bank Currency Exchange, The Book Co-op and Guesthouse Basel, a residency for young artists and curators in collaboration with Staedelschule students in the abandoned building.[48]

AUP is a public database of censored, forgotten, postponed, impossible, or rejected art projects by nearly 2,000 artists, including Judith Barry, Heman Chong, Jimmie Durham, Yona Friedman, Philippe Parreno and many others.[49] In the Kopfbau at Art Basel, a temporary AUP office exhibited an archive of several hundred unrealized art projects, comprising contributions received through an open call, as well those originally collated by Hans Ulrich Obrist and presented in the book Unbuilt Roads (1993). These works are now archived in a continuously updated online database.[50]

Report (Not Announcement) is a transitional report on the state of mobility at the beginning of the twenty-first century, comprising accounts and documents submitted by forty-eight cultural producers from all over the globe, and was later published as a text by Revolver Verlag, Germany. The project was conceived of by BAK (basis voor actuele kunst), Utrecht, in collaboration with e-flux, and curated by Binna Choi.[51]

East Art Map is a research and archiving project developed by IRWIN of Slovenia that is a guide through the last fifty years of visual art in Eastern Europe.[52] The map comprises 250 artists, events, and projects proposed by twenty-four art critics, curators, and artists, and is one of the first publications from the imprint 'Afterall Books' from Afterall journal.[53] In her review of the project Krzysztof Fijalkowski explains how visitors are collectively responsible for the "(re)construction of the history of contemporary art... Put more bluntly in the byline of the project's website: ‘History is not given. Please help to construct it.’"[54]

Publications

e-flux publications began in 2008 with the first issue of e-flux journal, edited by Julieta Aranda, Brian Kuan Wood and Anton Vidokle. The publishing platform has since expanded to include a joint imprint with Sternberg Press. Select issues of the journal and reader are marked by public events and projects initiated by the editorial collective, including SUPERCOMMUNITY, an editorial project by e-flux journal commissioned by Okwui Enwezor for the 56th Venice Biennale.[55]

Conversations

In 2014, e-flux launched e-flux conversations, "a new platform for in-depth discussions of artistic and social ideas."[56] The shifting team of editorial contributors includes artists, philosophers, journalists, gardeners, documentarians, designers, architects, politicians, and conspiracy theorists. In a telephone interview with Andrew Russeth for ARTnews, Editor/Moderator of e-flux conversations Karen Archey said: "It’s a very experimental platform, and it really came out of us being avid social media users and wanting to talk about art… There are also no archiving tools for conversations about art on Facebook, which actually sometimes are extremely important."[57] She cited the 2014 debate over Donelle Woolford as one prime example. "There’s no way we can get that back now," she said.

Select conversations have featured Hito Steyerl, Joao Ribas, Natasha Ginwala, Mary Walling Blackburn, Coco Fusco, Sarah Rifky, Nina Power, Gabriela Rangel, Brian Kuan Wood, and Charles Esche.[58]

Podcast

Since 2018, e-flux has published a bi-monthly podcast. Episodes have featured artists and writers including McKenzie Wark, Elizabeth Povinelli, Masha Gessen, Simone White, Kader Attia, Franco Berardi, and The Wooster Group, among others.[59]

References

  1. ↑ Frost, Charlotte (May 16, 2019). Art Criticism Online: A History. Arts Future Book. ISBN 9781780240411. Retrieved May 8, 2020. Search this book on
  2. ↑ Lydén, Karl (2009). "E-flux, Derrida and the Archive". SITE Magazine. Retrieved May 8, 2020.
  3. ↑ Nieves, Marysol (2011). Taking AIM!:The Business of Being an Artist Today. Fordham University Press. Search this book on
  4. ↑ Maydayproductions (May 10, 1999). "Infra-Slim" (Press release). Archived from the original on February 20, 2014.
  5. ↑ Lydén, Karl (August 2009). "Interview: Anton Vidokle of e-flux". Dossier Journal. Archived from the original on August 15, 2012.
  6. ↑ Obrist, Aranda, Vidokle, Hans Ulrich, Julieta, Anton (2006). "Ever, Ever, Ever" (PDF).CS1 maint: Multiple names: authors list (link)
  7. ↑ "New York Conversations". www.e-flux.com.
  8. ↑ "Program". www.e-flux.com.
  9. ↑ Pruitt, Rob (1999). "101 Art Ideas You Can Do Yourself". Archived from the original on August 27, 2014.
  10. ↑ "Limited Edition Program, Rob Pruitt". December 7, 2000.
  11. ↑ Cuevas, Minerva. "For a human interface-Mejor Vida Corp" (PDF).
  12. ↑ Leddy, Annette (October 2012). "Minerva Cuevas". Frieze Magazine. Archived from the original on January 31, 2015.
  13. ↑ Hernandez, Daniel (July 19, 2012). "Mexican artist Minerva Cuevas is giving away phone calls". LA Times.
  14. ↑ Obrist, Hans Ulrich (2002). "DO IT". Archived from the original on May 30, 2014.
  15. ↑ "Utopia Station". 2003. Archived from the original on March 11, 2015.
  16. ↑ 16.0 16.1 Smith, Roberta (January 13, 2006). "Who Needs A White Cube These Days?". The New York Times.
  17. ↑ "grand opening". e-flux. September 9, 2004.
  18. ↑ Allen, Greg (December 19, 2004). "Blockbuster Art". The New York Times.
  19. ↑ Ridlen, Tim (March 20, 2009). "Emulsion to Emulsion". Art 21 Magazine.
  20. ↑ Moore, Nikki (December 22, 2006). "EVR: e-flux video rental". The Austin Chronicle.
  21. ↑ "E-Flux Video Rental". MG+MSUM.
  22. ↑ "e-flux video rental at Bar Laika". e-flux. September 12, 2019.
  23. ↑ "unitednationsplaza opens October 27, 2006". e-flux. October 20, 2006. Archived from the original on August 3, 2014.
  24. ↑ "Manifesta 6". 2006.
  25. ↑ Martin, Herbert (October 2006). "School's Out". Frieze Magazine.
  26. ↑ "Museum as Hub". New Museum. 2008.
  27. ↑ "unitednationsplaza - archive". www.unitednationsplaza.org.
  28. ↑ "The End". November 13, 2007.
  29. ↑ "unitednationsplaza Mexico DF". February 27, 2008.
  30. ↑ "Film Festival by Ricardo Valentim". January 19, 2007.
  31. ↑ Amado, Miguel (May 2008). "Ricardo Valentim". Artforum.
  32. ↑ "e-flux". WNYC News. March 8, 2007.
  33. ↑ Thomson, Graeme (February 3, 2008). "Better Read than Dead: a Visit to the Martha Rosler Library". Cluster. Archived from the original on August 8, 2008. Retrieved July 6, 2020.
  34. ↑ "Martha Rosler Library". e-flux. November 8, 2005.
  35. ↑ Lieberman, Michael (November 13, 2007). "Martha Rosler's Traveling Library". Archived from the original on April 18, 2019. Retrieved July 6, 2020.
  36. ↑ Filipovic, Elena (Summer 2007). "If You Read Here... Martha Rosler's Library". Afterall.
  37. ↑ "Martha Rosler Library". e-flux.
  38. ↑ "Pawnshop to file for bankruptcy". e-flux. February 24, 2008.
  39. ↑ "PAWNSHOP". e-flux. September 25, 2007.
  40. ↑ "the shop: Pawn Shop". Vitamin Creative Space. September 16, 2009.
  41. ↑ "Pawnshop at Thessaloniki Biennale". 2011.
  42. ↑ Blagojevic, Basko (October 31, 2007). "Thirty days into e-flux's PAWNSHOP". ArtCat Zine. Archived from the original on March 4, 2016. Retrieved July 6, 2020.
  43. ↑ "A Prior Magazine - New York Conversations". e-flux. June 19, 2008.
  44. ↑ Loudis, Jessica (November 19, 2010). "Edge Fund: Time/Bank at e-flux". Idiom Magazine.
  45. ↑ McGarry, Kevin (September 23, 2011). "Stirring the Pot: Time/Food at Abrons Art Center". The New York Times Magazine.
  46. ↑ "Artists Cook Lunch for Time/Food". artnet. September 19, 2011.
  47. ↑ "Time/Bank". dOCUMENTA (13).
  48. ↑ "Free Guesthouse at Art Basel". e-flux. April 28, 2011.
  49. ↑ Sterling, Bruce (September 6, 2012). "The Agency of Unrealized Projects". Wired Magazine.
  50. ↑ "Agency of Unrealized Projects | e-flux".
  51. ↑ "BAK, e-flux". January 24, 2006.
  52. ↑ "E-Flux : Projects - East.Art.Map online". projects.e-flux.com.
  53. ↑ Rees, Simon (March 3, 2007). "East Art Map: Contemporary Art and Eastern Europe". Frieze Magazine.
  54. ↑ Fjalkowski, Krzysztof (November 29, 2006). "History Is Not Given". Meta Mute.
  55. ↑ Enwezor, Okwui (May 8, 2015). "Addendum--Okwui Enwezor". La Biennale di Venezia. Archived from the original on May 8, 2015.
  56. ↑ "Guidelines". e-flux conversations. October 2014.
  57. ↑ Russeth, Andrew (March 9, 2015). "E-Flux Launches E-Flux Conversations Site, Seeking Debate Away From Social Media".
  58. ↑ "e-flux conversations". art-agenda.
  59. ↑ "‎e-flux podcast on Apple Podcasts". Apple Podcasts.

External links

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